Much attention has recently been given by scholars to the widening of the gender gap in the nineteenth century and the concept of separate spheres. Testing such constructions, and questioning the stereotypes associated with Victorian domesticity, Monica F. Cohen offers new readings of narratives by Austen, Charlotte Brontë, Dickens, Eliot, Eden, Gaskell, Oliphant and Reade to show how domestic work, the most feminine of all activities, gained much of its social credibility by positioning itself in relation to the emergent professions. By exploring how novels cast the Victorian conception of female morality into the vocabulary of nineteenth-century professionalism, Cohen traces the ways in which women sought identity and privilege within a professionalised culture, and revises our understanding of Victorian domestic ideology.
Two distinctly different meanings of piracy are ingeniously intertwined in Monica Cohen's lively new book, which shows how popular depictions of the pirate held sway on the page and the stage even as their creators were preoccupied with the ravages of literary appropriation. The golden age of piracy captured the nineteenth-century imagination, animating such best-selling novels as Treasure Island and inspiring theatrical hits from The Pirates of Penzance to Peter Pan. But the prevalence of unauthorized reprinting and dramatic adaptation meant that authors lost immense profits from the most lucrative markets. Infuriated, novelists and playwrights denounced such literary piracy in essays, speeches, and testimonies. Their fiction, however, tells a different story. Using landmarks in copyright history as a backdrop, Pirating Fictions argues that popular nineteenth-century pirate fiction mischievously resists the creation of intellectual property in copyright legislation and law. Drawing on classic pirate stories by such writers as Walter Scott, James Fenimore Cooper, Robert Louis Stevenson, and J. M. Barrie, this wide-ranging account demonstrates, in raucous tales and telling asides, how literary appropriation was celebrated at the very moment when the forces of possessive individualism began to enshrine the language of personal ownership in Anglo-American views of creative work.
Much attention has recently been given by scholars to the widening of the gender gap in the nineteenth century and the concept of separate spheres. Testing such constructions, and questioning the stereotypes associated with Victorian domesticity, Monica F. Cohen offers new readings of narratives by Austen, Charlotte Brontë, Dickens, Eliot, Eden, Gaskell, Oliphant and Reade to show how domestic work, the most feminine of all activities, gained much of its social credibility by positioning itself in relation to the emergent professions. By exploring how novels cast the Victorian conception of female morality into the vocabulary of nineteenth-century professionalism, Cohen traces the ways in which women sought identity and privilege within a professionalised culture, and revises our understanding of Victorian domestic ideology.
Two distinctly different meanings of piracy are ingeniously intertwined in Monica Cohen's lively new book, which shows how popular depictions of the pirate held sway on the page and the stage even as their creators were preoccupied with the ravages of literary appropriation. The golden age of piracy captured the nineteenth-century imagination, animating such best-selling novels as Treasure Island and inspiring theatrical hits from The Pirates of Penzance to Peter Pan. But the prevalence of unauthorized reprinting and dramatic adaptation meant that authors lost immense profits from the most lucrative markets. Infuriated, novelists and playwrights denounced such literary piracy in essays, speeches, and testimonies. Their fiction, however, tells a different story. Using landmarks in copyright history as a backdrop, Pirating Fictions argues that popular nineteenth-century pirate fiction mischievously resists the creation of intellectual property in copyright legislation and law. Drawing on classic pirate stories by such writers as Walter Scott, James Fenimore Cooper, Robert Louis Stevenson, and J. M. Barrie, this wide-ranging account demonstrates, in raucous tales and telling asides, how literary appropriation was celebrated at the very moment when the forces of possessive individualism began to enshrine the language of personal ownership in Anglo-American views of creative work.
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